The recent news DC’s New 52-driven lead in the marketplace over chief rival Marvel Entertainment narrowed in November doesn’t come as much of a surprise, but it shouldn’t detract from DC’s accomplishment with its bold publishing initiative. It’s revitalized interest in its brand and characters, and it’s proven to be a boost to the comics marketplace overall. Furthermore, I strongly suspect DC will bolster its position in that marketplace in 2012 with a second wave of New 52 debuts (either under the New 52 branding, or a new banner), coming on the heels of the inevitable cancellations of some under-performing titles. DC clearly has its promotional machine in top working order, and it will no doubt continue to capitalize on that strength next year.

In any case, it’s time to continue my overview of the New 52 titles a few months into the initiative. With the first and second parts of the feature behind us, here are my thoughts on the third and penultimate group of the New 52 stable.

This is the first Brian Michael Bendis-penned Avengers comic to be released since the writer announced he’d be leaving the franchise he’s built into Marvel’s powerhouse, eclipsing even its X-Men brand. Given the fact Bendis is rehashing the Dark Avengers concept in this latest story arc, I think a change is a good thing. However, I have to admit there are elements in this story about Norman Osborn’s return to prominence as a public hero but secret villain that are interesting. I love how Bendis portrays Osborn and his colleagues not as corrupt criminals but as people who think they know what’s best for the world. They’re power-hungry, yes, but they don’t see themselves as terrorists. Still, this Osborn plot has been dragging on for years in one way or another. Perhaps by capping his Avengers run with this storyline, Bendis plans to bring some resolution to it finally. Just as I was torn by some aspects of the main plot, other elements appealed and turned me off. The opening scene between Daredevil and Squirrel Girl was clearly meant to be funny, but I found it painful. DD’s internal monologue about the stenches before him came off as juvenile, and he also seems rather naive about public sentiment and protests. However, the subplot focusing on Jessica Jones’ concerns about her child and how she can and Luke can be good parents while also serving as Avengers was quietly compelling. The script also fails in some respects. The woman with whom Gorgon speaks in a pivotal scene isn’t identified, and I can’t remember is she’s called Madame Hydra, Viper or something else these days, and I’ve already forgotten who’s fulfilling the roles of Ms. Marvel and Spider-Man in Osborn’s new Avengers lineup.